MyFlik - Your Online Movie Studio & Free Film School Les ouvriers boudés par la fiction LE MONDE TELEVISION | • Mis à jour le | Par Hélène Delye Il est des engouements, des tendances, qui mettent paradoxalement en lumière la carence de ce qu'elles délaissent, et en suscitent l'appétit. C'est le cas des fictions ancrées dans le monde de la politique ("Les hommes de l'ombre", sur France2, ou "Borgen", sur Arte), particulièrement en vogue ces temps-ci. Sans bouder le plaisir de suivre ces programmes et leurs protagonistes, on rêve aussi d'autres types de fictions aussi réalistes, créatives et contemporaines. Les héros de celles-ci seraient issus des classes populaires, ils seraient ouvriers, employés, citoyens. Selon le baromètre de la diversité à la télévision publié par le Conseil supérieur de l'audiovisuel (CSA) en juillet2011, les employés et les ouvriers, qui comptent pour 14% et 12% de la population, ne représentent en effet que 5% et 2% des personnes vues à la télévision, toutes catégories de programmes confondues. Partout, l'argument est le même.
Untitled Document Lex Williford Screenwriting Screenwriting Students: This webpage, a supplement to our text, includes many resources beyond our text, including the scripts we will read for this semester and scripts in several different formats which you may read on your own and use for your critical analyses of scripts. UTEP Undergraduate Students and UT Telecampus Graduate Students: This website is for both graduate and undergraduate students. Please report problems or broken links in this website to lex@utep.edu. Screenplay Website Documents Main Site Documents : You may also buy the program in the book store at an academic discount. Workshops and Shared Reviews in the Free Adobe Acrobat Reader This will be a paperless workshop. The first week of class, please download and install the latest version of the free Adobe Acrobat Reader at Here's what a Shared Review looks like: The Word Script Template That’s it for now. Thanks, Lex
fr - CeltxWiki Hi there! Please sign in help Expert Exchange tags people badges Ask Your Question search or ask your question Sort by » by date by activity ▼ by answers by votes 2,488 questions views answers no votes 4 mins ago Nguyen Quang Huy TypeSet/PDF view 11 hours ago JA525 Promblems with format of script 14 hours ago jcking75 typeset adding extra line break 14 hours ago bernardo carreiro How can i change the language from the tools on celtx? 17 hours ago Jabari I can't change from format to format. 19 hours ago evatar FEATURE REQUEST: Single Spaced Lines! vote Very limited support---true? 26 hours ago Nhat Banh Is Celtx Plus is also for Mac? 27 hours ago jefreestyles Celtx Plus Desktop version 27 hours ago treefrog importing online celtx scripts into older versions of celtx 36 hours ago Johnny Cinematic What I Get For The Studio Subscription 37 hours ago Amelia WiIson Stuck on "Text" view 38 hours ago Amelia WiIson Tabs in online studio not working suddenly. 38 hours ago roland ipad 38 hours ago Ralex75 Celtx iPhone app celtxscript
Screenwriting Tip Of The Day by William C. Martell - Challenge d You've finished your script, rewritten it to perfection, and now it's ready for market... or is it? I have a friend who has never done a *major* rewrite on his script, and my guess is that you haven't either. Most of us have never had our script challenged. We've never had to think about doing a major rewrite. A few years ago I had a nice sci-fi script set up with a producer who then hired a director... not just any director, this guy was a legend in the horror-sci-fi world. Until the first story meeting, where I realized why his recent films have sucked: he has dumb ideas. Imagine getting notes on STAR WARS like "Does Luke have to be a farm boy? Now, you may think those notes are silly, but they are the exact kind of notes you'll be getting. "What if Darth Vader was Luke's older brother instead of his father? Now you go through each of these possibilities and have to really consider them. Eventually you'll have to defend your choices. Back to *my* sci-fi script... CYBER THURSDAY Sale!
Séries françaises : "TF1" n'a décidément rien pigé à la fiction Au cours d'un entretien à "TéléObs", l'ancien directeur des programmes de "TF1" et actuel président de TF1 Production, Laurent Storch, a aligné des contre-vérités incroyables pour expliquer les raisons de l'échec de la fiction française. Son interview démontre clairement qu'on n'est pas prêt de sortir de ce marasme. Un épisode de "Joséphine ange gardien" (CHOGNARD ETIENNE/TF1/SIPA) Laurent Storch : "Nous en sommes à 16 [épisodes] pour “R.I.S”, 14 pour “Section de recherches”… Pourquoi pas plus ? Je ne remets pas en cause notre droit social mais la raison majeure est évidente : on ne peut pas travailler plus de trente-cinq heures." Faux. Le problème des 35 heures est inexistant si vous copiez les Anglais : au lieu de vouloir faire des séries de 24 épisodes qui demandent une façon très particulière de s'industrialiser, adaptez-vous ! Laurent Storch : "L’une des clefs pour livrer plus et plus vite, c’est le regroupement d’auteurs en ateliers l’écriture." Faux. Faux.
Your Screenplay Sucks! Just got back from the three hour extravaganza. Hmmmmm. Needed a bit more time in the editing department. I hate saying that, because Thelma Schoonmaker is amazingly talented, but this time she stumbled. The final bit of the movie, literally the last minute, is a textbook example of when you should cut, but don’t… Early in the movie, the hero is at a booth in a restaurant and says to his buddies, “Sell me this pen.” CUT TO: a couple of hours later. Very end of the movie… Hero is talking to a room full of people. That’s what they should have done, but didn’t. He says, “Sell me this pen,” and the guy he’s talking to stumbles through a couple of dumb sentences about why the pen is great. The correct end point was the instant after he said “Sell me this pen.” the first time. When you read your rough draft, look to see if you’ve got places you can cut out of a scene… but keep… on… going… Just because you have momentum, doesn’t mean you should freewheel forward. Do you agree?
Scene Questionnaire – The Scene The importance of asking questions to develop character and explore story is often quite helpful, but question asking should never be limited to people and plot alone. The scene is just as important and essential to movie making. After all, a film is just a bunch of scenes strung together to create a comprehensive whole. So give it a try; explore these 50 questions and begin writing better scenes by finding answers to these essential scene elements. The Big Ones: 1. 2. 3. 4. On Location: 5. 6. 7. On Character: 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. On Character Objective: 21. 22. 23. 24. On Conflict/Obstacles: 25. 26. 27. 28. 29. 30. On Action & Activity: 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. On Time & Economy: 41. 42. 43. 44. 45. On Audience Connection: 46. 47. 48. On Script Continuity: 49. We need moments when we are alone with the characters – where we really get to know them. On Use of Contrast: 50. Night/Day, Int.
The Index Card Method and Structure Grid All right, now you should have had enough time to watch at least one movie and note the sequences. Do you start to see how that works? By all means, keep watching movies to identify the sequence breakdown (and I will TRY to get to THE MATRIX this week) but at the same time, let's move on to This is the number one structuring tool of most screenwriters I know. Get yourself a pack of index cards. Now, get a corkboard or a sheet of cardboard - or even butcher paper - big enough to lay out your index cards in either four vertical columns of 10-15 cards, or eight vertical columns of 5-8 cards, depending on whether you want to see your story laid out in four acts or eight sequences. Then write a card saying Act One Climax and pin it at the bottom of column one, Midpoint Climax at the bottom of column two, Act Two Climax at the bottom of column three, and Climax at the very end. And now also label the beginning and end of where eight sequences will go. Now, let me be clear. 1. 2. 3. 4. - Alex
How Dan Harmon Drives Himself Crazy Making Community | Magazine Harmon works long, irregular hours on the set of Community, now in its third season on NBC.Photo: Joe Pugliese The circles are everywhere, if you know to look for them. They’re on the whiteboards around Dan Harmon’s office, on sheets tacked to his walls, on a notepad on the floor of his car. Harmon, 38, is the creator of Community, a sitcom about a group of community-college study buddies and the most giddily experimental show on network TV. 1. Harmon calls his circles embryos—they contain all the elements needed for a satisfying story—and he uses them to map out nearly every turn on Community, from throwaway gags to entire seasons. Harmon tells me this over dinner on a midsummer night in Hollywood. Harmon has dedicated the past three years to Community, the story of a fast-talking lawyer named Jeff Winger (played by Joel McHale) who is disbarred and forced to slum it in a community college. Not that Harmon seems to be enjoying any of this.